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Hello welcome back to the our channel. This week we're, going to be looking at an exhibition hosted by the Courtauld Institute. Well, Egon Sheela, the radical nude and it's, a series that works on paper using watercolor, crayon, pencil and gouache, and it's.

A series of works made between about 1910 and 1918 and the exhibition runs through till January. The 18th and can be seen at the Courtauld Institute on London's strand, so the exhibition that has Josh tears is on till the 18th of January.

I'm a little bit in from information about Sheila Egon Schiele born in 1890. He's, an Austrian artist and died in 1918 at the end of the first world war, a few weeks after his wife and both of them died of what was known as the Spanish flu Sheena was a quite a pupil of Klimt and made These very intimates, erotic, paintings and drawings, and this exhibition has 38 of these small pieces of work in two or three color spaces, so it's, quite a kind of intimate experience.

When you go to see the exhibition, I find this exhibition very exciting. A migrator Mara be on Sheila. Of course he died at the age of 28. His grace was saying this kind of sort of tragic myth around him and his life.

He his life ends at the pointy austro-hungarian Empire collapses. He's, part of this fantasy, yet for an early 20th century Viennese moment. A time of tremendous cultural richness in the arts in literature in science, particularly of course, problems as Sigmund Freud, and I think you can see this kind of psychoanalyst interest in the subconscious that comes through in these remarkable drawings.

There her account English. I think that really Sheila is exploring this relationship between the body and mind and the psyche, and it's as if these adult models, or at least adolescent, are kind of returning to a state of infancy, Sean of their clothes.

It's, a kind of existential exploration of what it is to be human, what it is to feel with all of those accompanying problems and challenges. I think they exist very much when they existed very much outside of what was acceptable and I think she was enjoying that and pushing boundaries as far as he could.

They are up close and personal and they are sometimes semi-clothed and, as you say, there are self-portraits. There are portraits of single women of women in relationships of newborn babies of pregnant women, and these were images that were all definitely thought to be unacceptable and she got into quite a lot of trouble for years of his son.

But he mean behavior and he's kind of outlandish drawings, but they are beautifully made and she who is an amazing draftsman and a really strong colorist and they are they feel very more than they feel very contemporary.

They feel very kind of vocation thing absolutely and there's. A dramatic power comes from these rather modest roids modest in terms of scale. He doesn't include background. He focuses solely on the figure on in the space on the paper.

He reinforced the line, but he's using mixed media, sometimes introducing very strong colors, vibrant colors. He cropped the body there's, an image of a young baby that pissed become wriggling off the page.

He will use his own body as a model, but I thought it was interesting that in all of those are self-portraits, he doesn't show his front. So in a sense his genitals are not exposing it. That is what so immediately a pound about its female models.

There's, no disguising that kind of gendered sensuality. Really there's, definitely a dichotomy, and then, when I went when the exhibition, I really noticed that his self-portraits are much more abstracting away.

He's really enjoying the surface and making shape and pattern on the paper and, as you say, they are much less explicit or tasteful if you like than the female bees which are full of bright red, nipples and vulvas and vaginas, and they're very confrontational.

In that way, they are made up with red lipstick, so they are very uncompromising images and, for me, still quite disturbing, and the idea that they cropped at the knee cropped to the neck that they are very dressed up in some ways is quite challenging.

I think I take a slow, different position from you and, of course that has that small Council male position, but I didn't, find them so shocking. I mean they're, very honest or Frank. There's, a kind of intensity of looking that intimacy.

The slope makes us like. I'm confident I agree, but there's, something quite sort of fascinating, really about the relationship that is established between the model and the artist and he's very so consciously animal guard artist.

He's. Testing boundaries of artistic and social propriety, and so you can see him really innovating the medium and the subject. But there's, a power to these drawings as enchanted mesmerizing really, and he would use, as I said, his own body and there's.

One drawn way. He shows his birth to pray almost like exposed, as if the flesh has been peeled back illustrating each individual bone in his back. I think the way I think in some ways they're very audience, but I still think they are very.

They're, very stylized. I think it's, interesting that he, I think he definitely operated outside of artistic circles and was, to some extent a loner and what perhaps frightening figure for his contemporaries, but not our God enough to be accepted into through.

Writing, for example, wanted to be a member and Kandinsky Gabrielle hunter. Those people felt that his work was in a place that wasn't where they were so. I think he's, definitely an operating outside the norms of his society.

One point he wants to talk about with the new pregnant woman reclining, which is, I think, next to the image of the baby, that you just mentioned very engaging image. I think that was actually really rather a touching image.

Again, the modernist cut off just below the knee, so you are cropped in like a modern snapshot of a photograph and have this huge kind of dome of her belly and kind of quite masked like face, but for some reason it's.

A very intimate touching and respectful painting - perhaps unlike some of the others before, shortens the body and it's almost like he's, viewing her lying on her bed with her legs, open waiting to give her geez.

She pissed be in labor she bright scarlet from the exertions of giving new life and it's very primal. Isn't it there's, something quite a bit Mari mayor Games, looking at the sort of particular female ordeal and giving birth, and he went to the maternity was given permission to visit the maternity hospital by the professor there to actually Witness women giving birth and that's.

I mean that is incredibly radical. Isn't it to to have the idea that you want to to draw those intimate female moments. It was a world you would have been excluded from as a male, so I mean in that way.

He is them. He's, really pushing the boundaries and wanting to like a real Discoverer, really explore. I think, which is admirable. Yeah there's. This kind of curiosity, relentless curiosity, to understand the body and its relationship with the sight, keeping and the subconscious, and it's, that raw kind of integrity and honesty that, I think, makes him so modern, so contemporary and relevant to today - and you know, I think it's.

A wonderful exhibition, I'm very exciting. He's, drawing on a whole range of different influences, including a friend called Owen Olsen, who was a mime artists, and there are several works illustrating this character.

Owen ofsome in performance, using these various stylized hand, gestures and movements of the body. You can see that flowing through some of the other drawing if they're very theatrical, and I agree with you.

I think that they are they're. Radical and they're engaging and they're slightly disturbing because of the kind of images and relationships and and bodies that he puts in front of us, but I think that they're very stylish.

You know the figures are not coming in, they are both in a fashion model through and they are they're deliberately stylized. He has a great control over night, as you say, so they are of course paintings, but to me they operate more like colored drawings.

In a way - and I mean remember, of course it was during his making many of these works during the first world war, so hunger would have been a very kind of present experience. One of my favorite works in the exhibition is woman in Boots with ray skirt and he uses a black crayon.

You get that kind of waxy oily quality and the line she's. Raising that skirt, it is explicitly erotic. Part of her face is covered by her hair and it really illustrates that kind of courtship that's, teasing flirtation between model and artist.

I mean he's very much in control, but she can reclaiming itself of power. I suspect that that comes through to me yeah in the work that she's, not wholly passive. No, I mean I agree. She is, I'm, looking out at you directly at the viewer occurred over one eye, and this is a woman who's, utterly understanding of her sexuality and her position and her partnership with the artist and I think, those kinds of Paintings work very well is that transgression of bourgeois and a polite manners that he's really kind of subverting, and we're like that, and another interesting work I found was two girls embracing it's.

There's, a kind of homoerotic quality to this drawing, but what the woman closest to us in the foreground has a more realistic face. The woman she's embracing is more like masks like more like a puppet and it's almost like a sort of idea of old, an alter ego, an expression of subconscious, so doubling effect also has some nice Freudian quality to it.

I think the transgression and the stylus of them still linger. They still work, they're, still slightly uncomfortable and we're, not quite sure, or at least I wasn't as a female viewer. How to be with some of those images or prepubescent girls of children, they for me are less successful than powerful, as I work with the cannot tell you good well, thanks for listening and watching the our Channel, please come back to see more of our videos.

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